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Friday, May 04, 2012

Quick Links

Just two days to the hour after RED challenged the world with a 4K camera showdown on June 4th, the company is pulling the plug on the competition. RED’s founder and CEO Jim Jannard announced the cancellation on his company’s site, saying "several companies have refused to participate" and "the grief and complication don’t warrant the effort."

Color Correction - My thoughts | Chris Fenwick | One on One
Rather than using a color correction tool, Chris explains why it makes sense to use your NLE or a plug-in to do color correction:

So what is the alternative? Working in my editor, ON my timeline, using plugins. I find that this method of work saves me a LOT of time. Can I get the exact same results… probably not. Can I AFFORD the exact same results? NOPE. I can’t. I work in the real world where money is ALWAYS tight. Often times the “color work” that I do on a project is not even be requested of the client and it is details that I am doing for myself to satisfy my OWN desires.

On the day, it was tough, it was tough to know what directions to give our actors and it was tough to keep in mind what was best for the story. It was tough for our actors too. Literally every take was different and I thought the film was going to be a nightmare to edit and was never sure whether or not we even had a complete story.

The multicam editing experience in Final Cut Pro X streamlines the more clunky process present in earlier versions of FCP. Improvements to the FCPX multicam tool include the ability to simultaneously view and edit 64 separate video tracks – none of which need to share the same resolution, frame rate or codec! Audio and video can be automatically synced using FCPX’s built-in Audio Analysis feature.

Well, in one of the scenes they showed a BTS of the President in the Situation Room and low and behold, there were several HDSLRs in there. And it was obvious that in this particular scene, the video closeup of the President that was shown was shot with the Canon HDSLR (unknown model – tho most likely the Canon EOS 5D Mark II)

The new Vision blue5 has the same superb functionality as the extremely successful Vision blue system launched at last year's NAB Show, but with a higher carrying capacity of 12.1 lb to 26.5 lb / 5.5kg to 12kg @ 100mm CofG. This makes the Vision blue5 ideal to support the latest generation of larger cameras used by professional videographers.

How They Write A Script: John Michael Hayes | Scott Myers | Go Into The Story
These are excerpts from the book “Backstory 3: Interviews with Screenwriters of the 60s”, edited by Patrick McGilligan (which appears to be out of print). This article highlights some thoughts from the writer for Rear Window, To Catch A Thief and other Hitchcock movies:

I think suggestion is better. I’d rather say things through a literary device that’s interesting than just say it out flat. So much of my dialogue is indirect, with layers of meaning, sub-rosa meanings. It’s more challenging to write that way, and people remember the lines. Frequently, people came up to me for autographs, and they quote some of those lines from my Hitchcock movies.

F3 S-Log Stage Presentation | Sony
Video from NAB of "The Art & Tehnology of the F3 and S-LOG" with Alister Chapman. It's almost an hour long. Note that it has a posting date of 04/25/2013, so it's great to know what's coming this year!

The very first thing I did, after Ryan and I storyboarded the first episode, and he created the first complete set of roughs, was to record a group of temp actors reading the script, and edit together an animatic in order to get the timing of the show right. This has been our reference going forward, and as soon as I get my hands on the full finished set of artwork, I’m looking forward to updating the animatic with the color art.